This is a Foreword by an archaeologist, not a conservator, but as Brad Rodgers says, “Conservation has been steadily pulled from archaeology by the forces of specialization”(p. 3),andhewantstoremedythatsituationthroughthismanual. He seesthisworkasa“calltoactionforthenon-professionalconservator,”permitting “curators, conservators, and archaeologists to identify artifacts that need prof- sional attention and, allow these professionals to stabilize most artifacts in their own laboratories with minimal intervention, using simple non-toxic procedures” (p. 5). It is the mission of Brad’s manual to “bring conservation back into arch- ology” (p. 6). The degree of success of that goal depends on the degree to which archaeologists pay attention to, and put to use, what Brad has to say, because as he says, “The conservationist/archaeologist is responsible to make preparation for an artifact’s care even before it is excavated and after its storage into the foreseeable future”. . . a tremendous responsibility” (p. 10). The manual is a combination of highly technical as well as common sense methods of conserving wood, iron and other metals, ceramics, glass and stone, organicsandcomposits—afarbetterguidetoartifactconservationthanwasava- able to me when I ?rst faced that archaeological challenge at colonial Brunswick Town, North Carolina in 1958—a challenge still being faced by archaeologists today. The stage of conservation in 1958 is in dramatic contrast to the procedures Brad describes in this manual—conservation has indeed made great progress. For instance,acommonprocedurethenwastoheattheartifactsredhotinafurnace—a method that made me cringe.

Conservation treatments and techniques for the archaeologist in the field, emphasizing how to conserve an excavated object before it is taken to a trained conservator offsite. Safety procedures and conservation supplies and materials are recommended. Techniques for lifting, cleaning, consolidating, marking, and storing are discussed, along with methods for treating specific artifact materials (e.g., amber, wood). Appendixes cover impressions and chemical preparations.

The relationship between archaeology and conservation has long been complex and, at times, challenging. Archaeologists are often seen as interested principally in excavation and research, while conservators are concerned mainly with stabilization and the prevention of deterioration. Yet it is often initial conservation in the field that determines the long-term survival and intelligibility of both moveable artifacts and fixed architectural features. This user-friendly guide to conservation practices on archaeological excavations covers both structures and artifacts, starting from the moment when they are uncovered. Individual chapters discuss excavation and conservation, environmental and soil issues, deterioration, identification and condition assessment, detachment and removal, initial cleaning, coverings and shelters, packing, and documentation. There are also eight appendixes. Geared primarily for professionals engaged in the physical practice of excavation, this book will also interest archaeologists, archaeological conservators, site managers, conservation scientists, museum curators, and students of archaeology and conservation.

Master conservator Douglas R. Armstrong imparts his many years of first-hand, practical experience in the field of marine artifact conservation within the pages of "Practical Conservation of Archaeological Objects". This newly updated version for 2012 includes his methods of cleaning coins recovered from a number of shipwrecks, in particular the inventory of the Chanduy Reef Capitana, and the Consolacion in Ecuador. This is a manual of proven methods that all collectors, be they archaeologists or treasure hunters, at land or at sea, will find indispensable when restoring and conserving a wide range of objects, ranging from buttons, cannon, sword handles, or glassware, to pieces of eight. The author was the first craftsman to handle many objects hereto untouched by conservators of the day, not the least of which are delicate pistols, one of the first wrought iron guns, the original Tumbaga bars of the Bahamas, and a bronze saker made for King Henry VIII. The book is richly illustrated with before and after photos of these projects and is fully indexed. The technology and tools used are described in great detail. Truly, this is a manual that every conservator needs at hand.